An increase in demonic energies in the Washington, D.C., area puts four strangers on the path to becoming Night Force. The legendary creative team behind Tomb of Dracula reunite, but the results – at least in this debut issue – fall short.
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The U.S. disposes of chemical weapons at sea, disrupting the Pale People’s culture and pulling the Justice League of America into a war. Mike Friedrich’s chockablock story is a fascinating relic of its time.
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During a campus visit, Kid Flash discovers that the student body is being controlled via an experimental brain operation. An example of the Bronze Age’s “relevancy” trend, delivered here by the team of Steve Skeates, George Tuska and Nick Cardy.
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When an evil sorcerer threatens Stanhope College, Supergirl turns to Wonder Woman and Morgan LeFay’s daughter for help. Supergirl gets a new look and a new direction from writer/artist Mike Sekowsky.
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The Young Aquarians team with Batman and the Teen Titans to defend a neighborhood from the establishment and the mob. A dated – make that VERY dated – story from Bob Haney, with great art from Bat-art-legends Jim Aparo and Neal Adams.
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Superman teams with Doctor Fate to battle alien high lamas who are willing to sacrifice Earth to reach nirvana. More Silver Age than Bronze in tone, the lead feature by Len Wein, Dick Dillin and Joe Giella is silly but fun.
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Tarzan saves Jane from the beast men of Opar, beats down nemesis Nikolas Rokoff and generally saves the day. With this strong issue, Joe Kubert ends his adaptation of “The Return of Tarzan” on a high note.
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Tarzan, new chief of the Waziri, leads his tribe to the city of Opar, where Jane eventually ends up captive. Following a down issue, Joe Kubert’s “The Return of Tarzan” adaptation returns to form.
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Tarzan’s continued clashes with the villainous Nikolas Rokoff lead the jungle king back to the wilds of Africa. An abundance of coincidences undermine this outing, making it one of the weaker issues of Joe Kubert’s Tarzan run.
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After surviving a duel in France, Tarzan is offered a government position that takes him undercover in Algeria. Too many rushed scenes make this a subpar example of Joe Kubert’s Tarzan work, but it’s still an enjoyable outing.
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